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blackkudos · 4 years

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Florence Price

Florence Beatrice Price (née Smith; April 9, 1887 – June 3, 1953) was an African-American classical composer, pianist, organist and music teacher. Price is noted as the first African-American woman to be recognized as a symphonic composer, and the first to have a composition played by a major orchestra.

Biography

Early Life

She was born as Florence Beatrice Smith to Florence (Gulliver) and James H. Smith on April 9, 1887, in Little Rock, Arkansas, one of three children in a mixed-race family. Despite racial issues of the era, her family was well respected and did well within their community. Her father was a dentist and her mother was a music teacher who guided Florence's early musical training. She had her first piano performance at the age of four and had her first composition published at the age of 11.

By the time she was 14, Florence had graduated as valedictorian of her class. After high school, she later enrolled in the New England Conservatory of Music in Boston, Massachusetts with a major in piano and organ. Initially, she identified as Mexican to avoid the prejudice people had toward African Americans at the time. At the Conservatory, she studied composition and counterpoint with composers George Chadwick and Frederick Converse. Also while there, Smith wrote her first string trio and symphony. She graduated in 1906 with honors, and with both an artist diploma in organ and a teaching certificate.

Career

Smith returned to Arkansas, where she taught briefly before moving to Atlanta, Georgia, in 1910. There she became the head of the music department of what is now Clark Atlanta University, a historically black college. In 1912, she married Thomas J. Price, a lawyer. She moved back to Little Rock, Arkansas, where he had his practice. After a series of racial incidents in Little Rock, particularly a lynching of a black man in 1927, the Price family decided to leave. Like many black families living in the Deep South, they moved north in the Great Migration to escape Jim Crow conditions, and settled in Chicago, a major industrial city.

There Florence Price began a new and fulfilling period in her composition career. She studied composition, orchestration, and organ with the leading teachers in the city, including Arthur Olaf Andersen, Carl Busch, Wesley La Violette, and Leo Sowerby. She published four pieces for piano in 1928. While in Chicago, Price was at various times enrolled at the Chicago Musical College, Chicago Teacher’s College, University of Chicago, and American Conservatory of Music, studying languages and liberal arts subjects as well as music. Financial struggles and abuse by her husband resulted in Price getting a divorce in 1931. She became a single mother to her two daughters. To make ends meet, she worked as an organist for silent film screenings and composed songs for radio ads under a pen name. During this time, Price lived with friends. She eventually moved in with her student and friend, Margaret Bonds, also a black pianist and composer. This friendship connected Price with writer Langston Hughes and contralto Marian Anderson, both prominent figures in the art world who aided in Price's future success as a composer.

Together, Price and Bonds began to achieve national recognition for their compositions and performances. In 1932, both Price and Bonds submitted compositions for the Wanamaker Foundation Awards. Price won first prize with her Symphony in E minor, and third for her Piano Sonata, earning her a $500 prize. (Bonds came in first place in the song category, with a song entitled "Sea Ghost.") The Chicago Symphony Orchestra, conducted by Frederick Stock, premiered the Symphony on June 15, 1933, making Price’s piece the first composition by an African-American woman to be played by a major orchestra.

A number of Price's other orchestral works were played by the WPA Symphony Orchestra of Detroit, the Chicago Women’s Symphony, and the Women's Symphony Orchestra of Chicago. Price wrote other extended works for orchestra, chamber works, art songs, works for violin, organ anthems, piano pieces, spiritual arrangements, four symphonies, three piano concertos, and a violin concerto. Some of her more popular works are: "Three Little Negro Dances," "Songs to a Dark Virgin", "My Soul's Been Anchored in the Lord" for piano or orchestra and voice, and "Moon Bridge". Price made considerable use of characteristic African-American melodies and rhythms in many of her works. Her Concert Overture on Negro Spirituals, Symphony in E minor, and Negro Folksongs in Counterpoint for string quartet, all serve as excellent examples of her idiomatic work. Price was inducted into the American Society of Composers, Authors, and Publishers in 1940 for her work as a composer. In 1949, Price published two of her spiritual arrangements, "I Am Bound for the Kingdom," and "I'm Workin’ on My Buildin'", and dedicated them to Marian Anderson, who performed them on a regular basis.

Personal life and death

In 1912, Price married attorney Thomas J. Price upon returning to Arkansas from Atlanta. Together, they had two daughters and a son; Florence (d. 1975), Edith and Thomas Jr. The Price children were raised in Chicago. Florence Price divorced Thomas Price in January 1931, and on February 14, 1931, she married the widower Pusey Dell Arnett (1875-1957), an insurance agent and former baseball player for the Chicago Unions some thirteen years her senior. She and Arnett were separated by April 1934; they apparently never divorced. On June 3, 1953, Price died from a stroke in Chicago, Illinois, at age 66.

Rediscovery of works

Following her death, much of her work was overshadowed as new musical styles emerged that fit the changing tastes of modern society. Some of her work was lost, but as more African-American and female composers have gained attention for their works, so has Price. In 2001, the Women's Philharmonic created an album of some of her work. Pianist Karen Walwyn and The New Black Repertory Ensemble performed Price's Concerto in One Movement and Symphony in E minor in December 2011.

In 2009, a substantial collection of her works and papers were found in an abandoned dilapidated house on the outskirts of St. Anne, Illinois. These consisted of dozens of her scores, including her two violin concertos and her fourth symphony. As Alex Ross stated in The New Yorker in February 2018, "not only did Price fail to enter the canon; a large quantity of her music came perilously close to obliteration. That run-down house in St. Anne is a potent symbol of how a country can forget its cultural history."

In November 2018, the New York-based firm of G. Schirmer announced that it had acquired the exclusive worldwide rights to Florence Price's complete catalog.

Composition style

Even though her training was steeped in European tradition, Price's music consists of mostly the American idiom and reveals her Southern roots. She wrote with a vernacular style, using sounds and ideas that fit the reality of urban society. Being deeply religious, she frequently used the music of the African-American church as material for her arrangements. At the urging of her mentor George Whitefield Chadwick, Price began to incorporate elements of African-American spirituals, emphasizing the rhythm and syncopation of the spirituals rather than just using the text. Her melodies were blues-inspired and mixed with more traditional, European Romantic techniques. The weaving of tradition and modernism reflected the way life was for African Americans in large cities at the time.

Legacy and honors

In 1964, the Chicago Public Schools opened Florence B. Price Elementary School (also known Price Lit & Writing Elementary School) at 4351 South Drexel Boulevard in the North Kenwood neighborhood of Chicago, Illinois in her honor. Price student body was predominately African-American. The school operated from 1964 until the school district decided to phase it out in 2011 due to poor academic performance which ultimately led to its closing in 2013. The school housed a piano owned by Price. The school building currently houses a local church as of 2019. In February 2019, The University of Arkansas Honors College held a concert honoring Price. In October 2019, the International Florence Price Festival announced that its inaugural gathering celebrating Price's music and legacy would take place at the University of Maryland School of Music in August 2020.

Works

Symphonies

Symphony No. 1 in E minor (1931–32); First Prize in the Rodman Wanamaker Competition, 1932

Symphony No. 2 in G minor (c. 1935)

Symphony No. 3 in C minor (1938–40)

Symphony No. 4 in D minor (1945)

Concertos

Piano Concerto in D minor (1932–34); often referred to as Piano Concerto in One Movement although the work is in three separate movements

Violin Concerto No. 1 in D major (1939)

Violin Concerto No. 2 in D minor (1952)

Rhapsody/Fantasie for piano and orchestra (date unknown, possibly incomplete)

Other orchestral works

Ethiopia's Shadow in America (1929–32)

Mississippi River Suite (1934); although labelled as a "suite", the work is cast in one continuous large-scale movement, in which several famous Mississippi River Songs are quoted, such as “Get Down, Moses”, “Nobody Knows the Trouble I’ve Seen” and "Deep River".

Chicago Suite (date unknown)

Colonial Dance Symphony (date unknown)

Concert Overture No. 1 (date unknown); based on the spiritual "Sinner, Please Don’t Let This Harvest Pass"

Concert Overture No. 2 (1943); based on three spirituals ("Go Down Moses", "Ev'ry Time I Feel the Spirit", "Nobody Knows the Trouble I've Seen")

The Oak, tone poem (1943); sometimes referred to as Songs of the Oak

Suite of Negro Dances (performed in 1951; orchestral version of the Three Little Negro Dances for piano, 1933;); also referred to as Suite of Dances

Dances in the Canebrakes (orchestral version of the homonymous piano work, 1953)

ChoralSolo vocal (all with piano)Instrumental Chamber Music

Andante con espressione (1929)

String Quartet (No. 1) in G major (1929)

Fantasie [No. 1] in G Minor for Violin and Piano (1933)

String Quartet (No. 2) in A minor (published in 1935)

Fantasy [No. 2] in F-sharp Minor for Violin and Piano (1940)

Piano Quintet in E minor (1936)

Piano Quintet in A minor

Five Folksongs in Counterpoint for String Quartet

Suite (Octet) for Brasses and Piano (1930)

Fantasy [No. 2] in F-sharp Minor for Violin and Piano (1940)

Moods, for Flute, Clarinet and Piano (1953)

Spring Journey, for 2 violins, viola, cello, double bass and piano

Various pieces for violin and piano

Works for pianoArrangements of spirituals

"My soul's been anchored in de Lord", 1v, pf (1937), arr. 1v, orch, arr. chorus, pf;

"Nobody knows the trouble I see", pf (1938);

"Some o' These Days," 1v, pf

"Were you there when they crucified my Lord?", pf (1942);

"I am bound for the kingdom", 1v, pf (1948);

"I'm workin' on my building", 1v, pf job at Florida

"Heav'n bound soldier", male chorus, 1949 [2 arrs.];

Undated:

"Joshua Fit de Battle of Jericho" (ca. 1950)

"Peter, Go Ring dem Bells," ed. John Michael Cooper (New York: G. Schirmer, 2019)

* "Variations on a Folksong (Peter, go ring dem bells)", org (1996);

"I couldn't hear nobody pray", SSAATTBB;

"Save me, Lord, save me", 1v, pf;

"Trouble done come my way", 1v, pf;

?12 other works, 1v, pf

MSS of 40 songs in US-PHu; other MSS in private collections; papers and duplicate MSS in U. of Arkansas, Florida

===Works for Organ=== (supplied by Calvert Johnson)

Adoration in The Organ Portfolio vol. 15/86 (Dec. 1951), Dayton OH: Lorenz Publishing Co., 34–35.

Andante, July 24, 1952

Andantino

Allegretto

Cantilena March 10, 1951

Caprice

Dainty Lass, by November 19, 1936

The Hour Glass [formerly Sandman]. Paired with Retrospection as No. 1

Hour of Peace or Hour of Contentment or Gentle Heart, November 16, 1951

In Quiet Mood [formerly Evening and then Impromptu]. New York: Galaxy Music Corp, 1951 (dated Aug. 7, 1941)

Little Melody

Little Pastorale

Offertory in The Organ Portfolio vol. 17/130 (1953). Dayton OH: Lorenz Publishing Co., 1953

Passacaglia and Fugue, January, 1927

A Pleasant Thought, December 10, 1951

Prelude and Fantasie, by 1942

Retrospection [formerly An Elf on a Moonbeam]. Paired with The Hour Glass as No. 2

Steal Away to Jesus, by November 19, 1936

Suite No. 1, by April 6, 1942

Memory Mist (1949)

Tempo moderato [no title], seriously damaged and possibly incomplete]

Variations on a Folksong

Principal publishers: Fischer, Gamble-Hinged, Handy, McKinley, Presser

Discography

Art Songs by American Composers / Yolanda Marcoulescou-Stern. Gasparo Records, 1993.

Black Diamonds/ Althea Waites. Cambria Records, 1993.

Florence Price: The Oak, Mississippi River Suite, and Symphony No. 3 / Women’s Philharmonic. Koch International Classics, 2001. Reprinted 2008.

Lucille Field Sings Songs by American Women Composers. Cambria Records, 2006.

Negro Speaks of Rivers / Odekhiren Amaize, David Korevaar. Musician’s Showcase, 2000.

Chicago Renaissance Woman: Florence B. Price Organ Works; Calcante CAL 014 1997

Florence B. Price: Concerto in One Movement and Symphony in E minor; Albany TROY1295, 2011.

Florence B. Price: Violin Concertos Nos. 1 (D major - 1939) and 2 (D minor - 1952) / Er-Gene Kahng, Janacek Philharmonic, Ryan Cockerham. Albany TROY1706, 2018.

Florence B. Price: Symphonies Nos. 1 (E minor - 1932) and 4 (D minor - 1945) / Fort Smith Symphony, John Jeter. Naxos American Classics, 2018.

Florence B. Price: Dances in the Canebrakes (Nimble Feet / Tropical Noon / Silk Hat and Walking Cane) / Chicago Sinfonietta, Mei-Ann Chen. Album Project W - Works by Woman Composers. Cedille Records, 2019.

Beyond the Traveler: Piano Music by Composers from Arkansas (Sonata in E minor) / Cole Burger, piano. MSR Classics, 2019.

#04/09 #06/03

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myhahnestopinion · 5 years

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REVIEW: The Lego Movie 2 - The Second Part

The Lego Movie's great success was not only how it managed to build its toy advertisement origins around an affecting emotional core, but the surprising use of its intricately animated world as an additional metaphorical layer for its celebration of creativity with its reveal the characters are acting out the fantasy of a young child. The Lego Movie 2: The Second Part, as the fourth installment of the cinematic universe, can no longer hide behind such charades, making much of the movie feel like a waiting game for the real-world shoe to drop. But while its far less fresh, funny, and free-spirited than its predecessor, The Lego Movie 2 still delights because it realizes this, and switches its focus from building up these walls to emphatically breaking them down, in an arc that miraculously manages the same emotional resonance as the original. The film has a clear message and just enough clever jokes and catchy songs to keep the audience engaged in order for it to land: everything can be awesome as long as we open our hearts to one another, toxic masculinity is just as cruel to ourselves as it is to others, and you should go out and buy some Lego Movie Branded Legos and the complementary soundtrack album.

The Lego Movie 2: The Second Part, like the cheeky title implies, connects directly to the end of the first film, opening with the invasion of Bricksburg by Planet Duplo, a representation of a young boy’s playscape becoming suddenly shared with his younger sister. The film cuts to five years later, the same passage of time experienced by viewers, and the Lego universe has become a dark-and-gritty riff on the high-octane world of Mad Max, with its citizens in a constant state of panic of another invasion. This fear is soon proven right when ever-cheery Emmet (Chris Pratt) accidentally attracts the attention of the intergalactic General Mayhem, who kidnaps his friends and departs for the Systar System, raising the threat of a foretold “Our-Mom-Ageddon.”

Just as the young boy’s world is upended, the sequel immediately has a noticeably different rhythm to it, with directorial duties shifting hands from Phil Lord and Chris Miller to Trolls’ Mike Mitchell. Lord and Miller remain screenwriters, stacking their script with another round of manic energy and irreverent jokes, but the abundance of poppy musical numbers and a more absurd visual styling bear the trademark of its director.

The eclectic cast of characters returns, including Allison Brie’s Unikitty, Charlie Day’s Benny the Spaceman, and Will Arnett’s Batman, with several winks to the character’s amusing Lego Movie spin-off. His personal growth from that film is lightly retconned to make his story work here, just as most of the cast are just along for the ride this time, striped of larger complexity and roles to compensate for several prominent new additions. These new characters include Stephanie Beatriz as the aforementioned General Mayhem, and Watevra Wa-Nabi, a shapeshifting alien queen played by Tiffany Haddish, thriving in the madcap world of animation and shining in several songs

While the cast is packed, notably absent from any of those major behind-the-scenes roles is a woman, an odd choice for a film all about the conflicts of a brother and sister learning to build a creative vision together. The Lego Movie 2’s toy-ad origins bleed through in the film’s targeted approach to male viewers, and targeted approach overall. In contrast to his lore-traversing spin-off, Batman spends much of the film out of his classic comic book suit and in pieces likely available for purchase as soon as one leaves the theater. Similarly, Aquaman returns in a cameo role, but with a face-lift and voice-lift to promote corporate synergy with Warner Bros. Pictures shiny new billion-dollar-grosser. The film gorgeous animation continues to reflect true-to-life Lego pieces, but for all of its satire, there’s no comment of Lego’s practice of making distinct figurines for its girl-marketed sets that subtly widens the divide the movie wants its viewers to bridge, because certainly the parent company needs those toys sold as well. The first Lego Movie also had this imperative to contend with and managed its task far more gracefully, though The Second Part is additionally forced to deal with “Lego Movie” becoming a brand onto itself.

As the plot progresses, however, the movie’s laser-focused targeting slowly shifts from frustrating to powerful, with a message directly addressed to young boys being pressured to close themselves off emotionally to be perceived as grown-up and masculine. Marketing images such as these switch from being pushed to being lampooned, most prominently in Chris Pratt’s secondary role as Rex Dangervest, a parody of those tough action-heroes that dominate cinema and the actor’s recent career. Dangervest is contrasted with the affable Emmet, a holdover from Pratt’s comedic origins, in a bit of meta-commentary so brilliant it might even go over the actor’s head. The first Lego Movie was about creation, the second about destruction; specifically, the destruction of self and social bonds that results from the damaging desire to exorcise one’s self-expression and reject the effort needed to ensure that “everything being awesome” is all-inclusive. With no need to maintain that original duel-world façade, The Lego Movie 2 hits this message hard, but that message hits hard because of its importance. If The Lego Movie 2 wants to speak to young boys in order to sell more toys, it certainly found a noble method with which to do it.

Like Ralph Breaks the Internet, which combined the intrusiveness of internet advertisements and Disney cross-promotion with a surprising examination of toxic relationships and unhealthy insecurity, The Lego Movie 2: The Second Part lies in a very peculiar realm of late-stage capitalism. It’s a confrontation of societal ills packaged inside a brightly-colored, melodious product, and is quite proudly, and effectively, both. The major musical number of the film is entitled “Catchy Song,” with lyrics proclaiming the inevitability of it getting stuck within your head, and, while far from the show’s best tune, its frustratingly correct. The film is clearly commercial, but never crass. The Lego Movie 2: The Second Part replicates, to varying degrees of success, the zany humor, quirky characters, and gorgeous animation that made the first film such a hit, but also doesn’t forget to properly place its most important piece: the heart. And maybe there’s room for a shiny new box of Legos right beside it.

The Lego Movie 2: The Second Part, also starring Elizabeth Banks, Nick Offerman, and Maya Rudolph, is in theaters now.

#film #2019films #review #thelegomovie #thelegomovie2

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dustedmagazine · 6 years

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JD Allen – Love Stone (Savant)

Ballad projects used to be de riguer for tenor saxophonists. In 1960, the New York-based Prestige label created an entire subsidiary catering to the niche, releasing amorously-oriented albums by Gene Ammons, Eddie “Lockjaw” Davis, Arnett Cobb and others. Tenorist JD Allen is several generations distant from that acme of activity, but he taps easily into a contemporary variant of the idiom on Love Stone, his twelfth album as a leader. Liberty Ellman on guitar, Gregg August on bass and Rudy Royston on drums, all faces familiar from Allen’s past efforts, form a trio of uncommon compatibility and resourcefulness.

As has long been Allen’s practice, the program is tailored to approximate the economical confines of a conventional LP. A self-penned love letter ambiguously-addressed “Hello Dearest” details his thought-process, from doubts about the viability of the venture and (at least temporarily) abandoning original composition to the efforts expended in learning the lyrics to the tunes under scrutiny. The latter was tactic championed by the tenor titans of yore from Coleman Hawkins to Ben Webster onward, the logic being that the import of the verse could serve as another means of ingress to mastering and internalizing the melody.

Amplified to a fine polish, Ellman’s gently ringing chords trigger a lustrous rendering of “Stranger in Paradise” framed by Royston’s brush patter and the bobbing throb of August’s strings. Allen glides across the burnished support, reveling in the slightly melancholy theme and tapering his tone to shadow the contours. “Until the Real Thing Comes Along” is the first of several tunes to reveal an unexpected, but instantly indelible influence on Allen’s mien through a calibrated cry and ardent phrasing that echoes departed balladeer extraordinaire Dexter Gordon. Once again, accompaniment to the spooling horn lead is transparent, but beautifully contoured to the romantic tenor of the piece.

Surprises arrive in the song choices as well with Allen ladling deep into the public domain cistern to come up with “Come All Ye Fair and Tender Ladies.” Ellman’s tone expands into a watercolor wash to match Royston’s minimalist cymbals and malleted skins as Allen gradually traces a lulling line and piece takes on the mantle of a somber processional. “Put On a Happy Face” is the counterweight, a dry avuncular humor threaded through the theme and bolstered by the bounce of Royston’s brushes and an ambling bass line. Sonny Rollins gets the brim tip this time with a bluesy tenor exposition that stays airborne for the duration. The recipient of Allen’s amative intent remains enigmatic, but there’s an abiding emotional inclusiveness to the album that allows listeners to feel unrestrictedly in on the affair.

Derek Taylor

#jd allen #love stone #savant #jazz #ballad #liberty ellman #gregg august #rudy royston #dusted magazine #albumreview #derek taylor

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chivublog · 4 years

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Research Proposal

You have been preparing for this assignment for weeks now. As we have been reading about where music comes from, how it works, and how it may have power, some topics have probably piqued your interest. Hopefully you are close to settling on one topic for your paper, but don’t worry if you’re still paring it down.

1. Title - Please provide a working title for your paper. Just try it out. Maybe more than one? (5 pts)

Human beings are hardwired for music by nature.

2. Thesis - What is your current working thesis statement? Remember it needs to arguable, clear, and tell us a little bit about how you’re going to defend it. (10 pts)

Music has an immense and undeniable influence on humans’ lives from personalities, languages and cultures, and especially healthcare, which shows that humans can not exist without music.

3. List 3-4 possible argument points. How does each of these relate to your thesis? Do you have a source already to support your claim? If so, list it here. Are there counter claims for each of your arguments? How would you respond to those? (5 pts each)

Though it is hard to reference an individual’s personality from what genres of music they listen to, it is obvious that music constructs our characteristics and also our compassion for other people based on different styles of music that each individual is interested in.

(Source will be used: “ Music Preferences, Personality Style, and Developmental Issues of Adolescents” https://link.springer.com/article/10.1023/A:1022547520656

“ From the functions of music to music preference” https://journals.sagepub.com/doi/abs/10.1177/0305735608097247)

+ “ Listeners of rock music liked it especially because it expresses their identity and their values (see also Arnett, 1991), and they also appreciated it as artistic expression. Being energized by their music was rated highly by listeners of music with rap. Rock and rap music’s crucial capability of putting its fans in a good or ecstatic mood are consistent with other findings about the music’s mood-enhancing and arousal stimulating properties and its important potential to express its listeners’ identities (e.g., Hakanen, 1995). Furthermore, just like the listeners of electronic music, participants who listened to rap liked their music because it improves their understanding of their own thoughts and feelings. For pop music listeners, their preferences were most closely related to the music’s capability to express their values and to the fact that they could identify with artists and meet other people. Remarkably, mood, arousal and emotional functions seem to have no important effect on the preference for pop music. For participants who listened to beat, folk and country music, it was most import - ant that the music could put them in a good mood and improve their understanding of their own thoughts and feelings. This is probably related to the importance of dancing, especially as a means to meet other people and to reach emotional balance” (”From the function of music to music preference”, p.16)

Music represents each language and culture, which means culture’s music and linguistic prosody are strongly intertwined.

(Source will be used “ The Relationship of Music to the Melody of Speech and to Syntactic Processing Disorders in Aphasia” https://pdfs.semanticscholar.org/c058/9194cd45483f1d213ab032f659158cfd085d.pdf)

Music therapy plays a significantly essential role in medical treatment of various different diseases including aphasia, trauma or stress and can even replace the role of sedative drugs.

(Source will be used: Power of Music (Chapter 11), “ Effective music therapy techniques in the treatment of nonfluent aphasia” https://www.researchgate.net/profile/Concetta_Tomaino/publication/224823067_Effective_music_therapy_techniques_in_the_treatment_of_nonfluent_aphasia/links/59e7534c4585152d5f04df14/Effective-music-therapy-techniques-in-the-treatment-of-nonfluent-aphasia.pdf, “Music and trauma: the relationship between music, personality, and coping style “https://www.frontiersin.org/articles/10.3389/fpsyg.2015.00977/full”)

=> Humans can not exist without music due to its tremendous impact on every matter of humans’ life.

---------------------------------------------------------------------------------

Naysayer:

1> Some people argue that patients can pronounce words due to their memory based on repetition, specifically, because of our brain function, not music. In fact, some patients can pronounce new words by creating their own new rhythm or by tapping.

2> Humans can exist without the appearance of music: amusia >< In fact, it is important to consider how many percent that amusics account in the world’s population. Moreover, amusics can somehow feel the impact of music in their lives: https://europepmc.org/article/MED/26226563

+ “music and control participants judged the emotions expressed by unfamiliar musical clips intended to convey happiness, sadness, fear and peacefulness. Surprisingly, most amusic individuals showed normal recognition of the four emotions tested here. This preserved ability was not due to some peculiarities of the music, since the amusic individuals showed a typical deficit in perceiving pitch violations intentionally inserted in the same clips”

+ “Amusics even showed sensitivity to key clarity and to large mean pitch differences in distinguishing happy from sad music.”

------------------------------------------------------------------------

4. Find 2-3 youtube videos that connect to your topic. Maybe it is the style of music used? Maybe it is interviews with people about the topic? Embed those in your post and provide a one paragraph description of each and how you could use them in your paper. (10 pts each)

1)https://www.youtube.com/watch?time_continue=92&v=EK5qqYYxjn4&feature=emb_title

I will use it in the naysayer part to debate that music can actually help in aphasia treatment due to the brains’ reactions towards music, not because of the repetition of learned songs in the past.

youtube

2) “ A life without music... what does it mean? | Laura Ferreri | TEDxMilano”

youtube

I will use this speech to emphasize the evocative influence of music in life (Starting from 7:00 min)

*It is about how music relates to our memories, education, health treatment, hardship overcoming)

Example in the video: Some parkiston patients can not memorize events happening in their life in the past but still recognize songs (I will also support this argument by using your video in the powerpoint about Greg)*

youtube

=> I also use this video to prove that music is part of culture via the evidence of history and why music is so important to humans as well as its role in therapy

(some significant ideas: 2:50, 3:20, 4:00

3) I use this video to show the connection between music and language.

The video is about how we learn music as we learn language => connection between language and music

youtube

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twhite74 · 5 years

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MMTS Sunday Quotes

Photo by freestocks.org on Pexels.com

Gratitude makes sense of our past, brings peace for today, and creates a vision for tomorrow.

Melody Beattie https://www.brainyquote.com/quotes/melody_beattie_134462?src=t_gratitude

Photo by Paula Lavrador on Pexels.com

I am happy because I’m grateful. I choose to be grateful. That gratitude allows me to be happy.

Will Arnett https://www.brai…

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missmoodring · 11 months

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@chocolat: y’all ready for the switch up? we’ll be rocking out all weekend at edgewave. join us. tickets sold at @aniraklova

#ts4 #edgewavefest #edgewavefest2023 #the sims 4 #sims 4 #extras: chocolat #eden arnett #melodie arnett #neoma arnett #chocolat

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a-forlorn-soul · 5 years

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🌹 What is their idea of a perfect date?

@foofmastaflex also asked this one as well.

Loki is a rather simple person and doesn’t expect much on a date. For him the perfect date is one where he can simply spend as much time as possible with his partner. Things that accomplish this for him is an evening on the beach swimming, a picnic in the forest, or sharing one of his favorite spots. It really doesn’t take much at all to keep him happy.

#FF14 #Loki Arnett #FF14 RP #Balmung #moonlight---melodies

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filamentzine · 4 years

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Alex - Lame Beach

Α piece of music that needs to be played loud

Bad Pelicans - Covch Pizza

A piece of music that moves you forward

Drunk Mums - Pub On My Own

A piece of music that gets stuck in your head

Hockey Dad - Laura

A piece of music that makes you want to dance

Ty Segall - It #1

A piece of music that makes you feel badass

Bass Drum of Death - Heart Attack Kid

A piece of music that you remember from your childhood

Johnny Thunders - Born to Lose

A piece of music that reminds you your hometown

Eyedress - Look Past The Past

The piece of music you’ve listened to the most

Ty Segall - Finger

Hi im Alex. I’m 22 years old,I play the guitar and sing false melodies in Lame Beach. I make music as Blurry Recollection too for all my emotional friends. I also like fast cars and arnette sunglasses.

https://lamebeach.bandcamp.com/

https://www.facebook.com/lamebeach

#lame beach #blurry recollection #filament zine

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jessicakehoe · 4 years

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ICYMI: These Were the Highlights From the Stronger Together Concert

The largest single-show broadcast in Canadian history, Stronger Together, Tous Ensemble brought together the biggest names in the country, from actors and athletes to musicians, authors, activists and more. The special event honouring healthcare workers and raising money for Food Banks Canada featured musical performances, messages of hope and solidarity, and also told the stories of frontline workers and COVID-19 survivors. Now, we’re reliving some of the highlights from the show.

Canadian rocker Sam Roberts kicked off the show with an uplifting acoustic rendition of his 2014 single “We’re All In This Together,” with his three children accompanying him on music. Celine Dion addressed viewers in French and English, praising the “heroes out there around the world who are going to work every single day.” Other celebrities who made an appearance include author Margaret Atwood; dance troupe Cirque du Soleil’s Kevin, Andi and Gasya Atherton; actors Mike Myers, Will Arnett (with a special appearance by Amy Poehler) and Kiefer Sutherland; and the entire cast of Schitt’s Creek.

The goal of Stronger Together, Tous Ensemble was to raise money for Food Banks Canada’s $150 million campaign to provide immediate support to food banks across the nation during the pandemic, and over the course of the 90-minute event, so many Canadians sent in donations that they broke the internet. “Canada, you’re amazing,” organizers of the event tweeted. “The @foodbankscanada website has crashed under the weight of your generosity.” For those who still wish to donate, there’s plenty of time. Text COVID to 30333, call 1 (877) 535-0958, or head to Foodbankscanada.ca to make whatever contribution you can afford.

In case you missed it last night, check out some Stronger Together highlights below:

Alessia Cara

Before performing Randy Newman’s “You’ve Got a Friend In Me” with her band, Grammy-winning Brampton native Alessia Cara shared a personal message to viewers about the importance of human connection and friendship, especially in the most trying of times.

“I want to play you guys a song that I really loved growing up, that I feel is pretty important and fitting in this crazy, weird, difficult time we’re going through right now,” she said. “And I think if there’s anything we can learn from it, it’s that there’s nothing we can’t get through together. In fact, everything’s always a little bit easier when we have each other. So hopefully this gives you a little bit of hope or joy.”

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Shania Twain

From her home in British Columbia, Shania Twain shared a special message for Canadian frontline workers—healthcare workers, drivers transporting food and health supplies, cleaners and first responders. “Thank you from the bottom of our hearts for putting yourself out there, putting yourself at risk,” she said, tearing up. “We couldn’t do this without you, we would be in a much bigger mess without you.”

She then went on to perform—with her labrador Melody by her side—a couple of verses of the title track “Up!” from her 2002 album, providing a slight coronavirus twist to the lyrics.

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Barenaked Ladies, Michael Bublé and Sofia Reyes

Michael Bublé and Barenaked Ladies performed a song titled “Gotta Be Patient” with Mexican singer-songwriter Sofia Reyes, tweaking the lyrics with coronavirus references. “I just want to see my friends / I want to walk the street again / But I gotta be patient / So let’s enjoy this confination,” began the song, leading into: “I just wanna feel your love / Coz Instagram is not enough for me / So I gotta be patient / Let’s enjoy this confination.”

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Ryan Reynolds and Eric McCormack

The two actors provided some moments of levity, with Ryan Reynolds quipping that the day marked “the 10-year anniversary of the quarantine we’ve been on for the last six weeks.” Eric McCormack spoke of how Canadians can get through anything, sharing an anecdote from his youth, before going on to introduce Sarah McLachlan as “one of Canada’s most precious natural resources.”

“I spent my 20s in theatres from Vancouver to New Brunswick,” he said. “And let me tell you, if Canadians can brave a three-hour production of Henry IV Part Two in the dead of the Winnipeg winter, they can do anything.”

Thank you @EricMcCormack for the message of love ❤️. #StrongerTogether #TousEnsemble pic.twitter.com/qyt3BpiotI

— Stay At Home TV (@GlobalTV) April 26, 2020

A tribute to Nova Scotia

Canadian singer Anne Murray took a moment to speak about the tragic shooting that took place in Portapique, Nova Scotia, last week.

“A week ago, the unthinkable happened, right here in my beloved Nova Scotia,” she said. “To the families, friends and communities of those affected, we want you to know that we are grieving with you and we send prayers for courage and strength as you try to make sense of this horrific tragedy.”

She went on to say, as she thanked healthcare workers across the country: “We as a nation are being put to the test right now as we face the unknown, but we’re facing it together and that’s the way we want to remember this. Here’s a song that’s become an anthem for times like this and one that I’ve actually sung a few times. Here are Voices Rock Medicine, a choir made up entirely of women physicians.”

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A message from Canadian athletes

Some of the top performing athletes in the country (and the world) joined forces to share a message of team spirit, unity and perseverance, including tennis player Bianca Andreescu, swimmer Penny Oleksiak, Toronto Raptors Serge Ibaka and Pascal Siakam, soccer player Christine Sinclair, sprinter Andre de Grasse, former hockey player Hayley Wickenheiser and ice skater Tessa Virtue.

“With a focus on physical and mental health, let’s remember to stay in touch, stay strong, stay brave, and stay united,” said Virtue. “Thirty-seven-million strong, this is the most important Team Canada I have ever played on,” said Wickenheiser.

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Lean On Me

Canadian singers Tyler Shaw and Fefe Dobson, founders of an initiative called ArtistsCAN, brought some of the country’s biggest musicians together for a moving collaborative performance of the late Bill Withers’ “Lean On Me.” Justin Bieber, Michael Bublé, Avril Lavigne, Bryan Adams, Buffy Sainte-Marie, Jann Arden, Sarah McLachlan and others performed the special ensemble piece, proceeds from which will go directly to Red Cross Canada’s COVID-19 relief efforts. Canadians can contribute to the initiative by simply streaming the song, viewing the official music video, or downloading the single.

Prime Minister Justin Trudeau closed out the video with a message to the nation, saying: “We’re going to get through this together, by leaning on each other and protecting our frontline workers. Stay home, stay safe.”

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Drake

In a move that raised a lot of eyebrows on Twitter, Drake closed out the show, getting the last word after Prime Minister Trudeau. His three-minute-long closing message thanked the artists who had performed for a good cause that evening, the frontline workers and first responders, and those who have to leave their families everyday and go to work amidst this crisis. “They’re the glue holding all this together so thank you very much for that,” he said. He also addressed the mental health challenges that people across the world are facing right now, whether they have been directly affected by coronavirus or not.

“I want to urge everybody that’s in their own space to find the silver lining in the times that we’re living in right now,” he said. “If you have a craft that can be worked on from home, it’s an amazing thing to continue working, keep your mind stimulated, get better at that thing that you’re passionate about. Better yourself mentally, physically, if you can stay active, if you can make a change you’ve always wanted to make in your life, right now is the time. Nurture your personal relationships… or decide which personal connections aren’t for you. Now is a time of self-reflection.”

“I hope we all emerge better people, more unified people, and I hope we are able to show each other the same amount of love we’re showing now.”

https://twitter.com/etalkCTV/status/1254561506504646656?s=20

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